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17 October 2018
Guillermo Rodicio wrote an article titled "Laura Marling sempre vivirà na campiña inglesa" (Laura Marling Will Always Live in the English Counrtyside) for the magazine A Que Cheira, Papà describing how he discovered Marling's music. Here's a short quote from the article (the translation may not be entirely accurate):

Guillermo Rodicio I did not quite understand what he was doing, but I took the first English bus that appeared and I was half asleep listening to Laura's music, because it seemed to be what had to be done. I woke up again at the last stop on the line and the driver told me we were in Reading, west of London. It was an orderly and quiet city, with deserted streets on a Tuesday afternoon. I decided to continue walking, without a destination. I passed a car rental, but at that time I did not have a credit card. What I could do was ride a bike, so I rented one in a store that I found. I left Reading mounted on a borrowed bike, and thinking of the verses of I speak because I can...Night was beginning to grow when a light lit in the distance, beyond the trees. I arrived at a solitary, white and sunny roofed house, invaded by the ivy and in front a green door, on which was written Blackberry Stone.

30 July 2018
Marling's RAMBLING MAN is number 114 on a list published by NPR Music of the "200 Greatest Songs By 21st Century Women+". Selections were made by a panel of more than 70 women and non-binary writers. All the songs are by women (and non-binary) artists whose major musical contributions came on or after Jan. 1, 2000. The term "Women+" was used "to recognize a wide spectrum of gender identities coming to greater light in the 21st century."

19 July 2018
Max Pilley described Marling's performance at the 2018 Latitude Festival in an article for MusicOMH.

Their songs take their time to emerge, like Omar Sharif out of a mirage, but blossom into warm, irregular and intricately decorated things. Marling enters a new animal state when playing with this band, channelling a sultry rockstar cool, swapping between bass and guitar...this is intoxicating stuff, a heavyweight set that marries Marling's recent fascination with Ivor Cutler and Edward Lear with Lindsay's experimental tendencies.

28 June 2018
Marcus Schneider, writing for Rolling Stone Germany, saying that "at heart this is a song album...a lightweight cloak made of synthetic nebulas."

The highlight and "Curse Of The Contemporary", a single and candidate for song of the year. It flows with talbwangendem (?) electric swing and a finely moved, muted bass, and in addition Marling's voice has a most unusual effect somewhere between the usual Joni Mitchell and a Kate Bush-obsessed geisha. Weirdly cut horns sting into the chorus (or what suffices as such). Really great!

8 June 2018
James Auton, writing for God Is In The TV, described LUMP's 5 June performance at Oslo, Hackney:

Laura Marling at Oslo Hackney There is no welcome, no spoken thanks, not a word is uttered that isn’t sung. It is as if a spell would be broken if they didn’t stay in character. They are under LUMP’s control. The album is played in it’s entirety and in order with elongated beginnings and endings. Live they have an additional weight, "Rolling Thunder" and "Hand Hold Hero" possess a bulk that isn’t there on the record, guitars turned up a bit, bass rumbling and drums vibrating. Lead single "Curse of the Contemporary" is the closest to how it sounds on the LP and results in the only appearance of the LUMP dancing next to the curtains leading backstage.

4 June 2018
Australian music critic Bernard Zuel posted a review of LUMP on his website, and had this to say about two of the tracks:

Bernard Zeul "In Hand Hold Hero, for example, a persistent electronic autobahn momentum features almost haphazard percussive and instrumental 'noise' contributions through its final stages (that merge seamlessly into the contrasting next track, Shake Your Shelter) which gives the sense of destination sought. However, before then, out of wafting away high vocal sounds, Marling’s dry and deep delivery gives us someone offering dispassionate advice ('don’t buy nothing you’re being sold, I’ve told once and again') and dry-eyed observation ('you can’t complain once you’ve been bought') while promising 'I choose to always be there for you', in a way that suggests a rootlessness to the emotion."

30 May 2018
Elizabeth Aubry Elizabeth Aubry reviewed LUMP for The Independent She described Mike Lindsay's soundscape "at times deliberately chaotic" and had this to say about Marling's contribution to the album:

Marling’s soaring voice brings the reason to Lindsay’s chaos whilst her lyrics examine our warring private and public personas at a time when the world around us often feels empty and void. Inspired by 20th century surrealism together with the absurdist poetry of Edward Lear and Ivor Cutler, Marling’s compelling narrative delves into the commodification of our public personalities and the manifold ways we try to escape the mundaneness of our everyday selves.

16 April 2018
Lump - t-shirt and CDMarling told Larry Bartleet of NME that LUMP was named by her six year old goddaughter. The album ends with a two minute credits track in which Marling reads out the names of those who worked on it. As for the yeti in the videos:

"The yeti became a suitable analogy for the animal unconscious, the randomness – and the weird dancing, like you've never learned how to dance. It became a fitting thing to put everything on. He'll continue his journey in the videos and keep getting weirder."

18 February 2018
Laura Marling's performance at St. Giles in the Field in London on 17 February as part of BRIT's Week was reviewed for The Telegraph by Patrick Smith. "Alone with her guitar, her flowing white shirt matching her complexion, she laid bare her gusty parables about solitude and self-realisation to the 200 fans genuflecting before her," said Smith. "Drawing mainly from Semper Femina, she opened with Wild Fire, her Hampshire accent drifting into an American drawl, before weaving through the dreamy waltz of The Valley and the melancholic Next Time, her eyes fixated on the balcony above." (Marling was nominated for a Brit Award in the category British Female Solo Artist. Dua Lipa won in that category.)

Leonie Cooper 7 February 2018
Writing for NME, Leonie Cooper called Marling Britain's most important songwriter. On the tenth anniversary of the release of ALAS I CANNOT SWIM, Cooper said of Marling's debut album: "It wasn't just her age and precociousness that made people take notice; it was the moody experimentalism that she brought to the classic sound of British folk music. In the wake of the ultra-laddish second wave of Britpop...Laura Marling's music offered a more intimate kind of emotional catharsis." And Cooper called SEMPER FEMINA "... a bold record but one that's every bit as left-of-centre as her debut, picking apart the way women see other women with sharp intelligence and a burning fire."

6 January 2018
Lee Adcock of Drowned In Sound reviewed LUMP and said that Marling and Lindsay convey "startling visions".

Lee Adcock If you fast forward to the woozy and wonderful single 'Curse of the Contemporary' (I won't stop you – it's too mesmerising to ignore), you'd imagine the blazing bright desert that Siouxsie Sioux and company trekked through in 'Arabian Nights'. But behind that, you'd feel the cool breeze of droning flutes that loop through the lagoon, especially the half-Portishead, half-Joan As Police Woman cavern of ‘Rolling Thunder'. And if you push forward, the last heavy machinery of mankind hums like a Kraftwerk steam engine through 'Hand Hold Hero'. As distant as these coordinates might seem, they're all on the same grid, so that LUMP resides in a fully rendered & self-contained space; each zone allows the other to exist.

3 January 2018
SEMPER FEMINA is number 30 on Peter Margasak’s 40 favorite albums of 2017. Here, in part, is what he says about the album:

"Most mentions of Semper Femina note that singer-songwriter Laura Marling addresses only women in its nine songs. It's hard to tell if those women are friends or lovers, but Marling's sharp observations and plainspoken language render the ambiguity irrelevant. The title comes from a line in Virgil's Aeneid, 'Varium et mutabile semper femina' (Fickle and changeable always is woman), and in just about every song a doubtful narrator wrestles with a relationship at a crossroads."

16 October 2017
Michael Roffman and Heather Kaplan, writing for CoS, pointed out an interesting co-incidence. Marling sang the line "I hope we meet again" during her performance at Lynch's Festival of Disruption. That line is the last thing Special Agent Dale Cooper says to his friends near the end of “Part 17” of TWIN PEAKS: THE RETURN. Marling performed at David Lynch's 2017 Festival of Disruption, 14 and 15 October at The Theatre at Ace Hotel in Los Angeles. Among others in the music lineup were Bon Iver, The Kills, Sharon Van Etten, and Moby.There were also screenings of Lynch films (including some rare shorts).

8 June 2017
Katherine Gillespie In an interview with Katherine Gillespie of Noisey Australia, Marling said that she hates being called a "female songwriter". and said that her previous album, SHORT MOVIE, was a direct reaction to that label being applied to her. "I did quite a lot of work to distance myself from the way I was portrayed in the media," Marling said. "I don't do fashion shoots; I don't wear makeup when I have my photo taken. And for that reason, not many people want to take my photo. I try to keep a sense of ownership over my appearance."

13 June 2017
Bernard Zuel reviewed Marling's 12 June performance at the Sydney Opera House for the Sydney Morning Herald, saying that "...the addition of the Topolski sisters made for some stunning moments of choral power as well as giving the full Fleetwood Mac to Daisy, a b-side from 2015 which has become a live staple and luxuriates in its evocation of 'golden age' Christine McVie." And about Marling herself: is still something of wonder to hear a storyteller with such mastery of tone and temper, word and imagery, who can command a room without recourse to domination, who can tell you everything you need to know while saying almost nothing through the show, and who can lift you with her as she rises.

18 May 2017
Edward Dunbar writing for Spectrum Culture about Marling's Boston show:

"For more than 10 years, Marling has established herself as a riveting antidote to the sometimes stagnant, sometimes commercialized world of modern folk. Lucky for us, her live show is just as emotionally powerful as her studio work, if not more so. More Tuesday nights should be like this."

14 May 2017
Janine Wong, writing for Canadian Beats, talked about Marling's Toronto show, and described Valley Queen's opening set. "Opening the night was Valley Queen," she wrote, "a modern-rock outfit from L.A. who are not opposed to extended jams or Face- Timing loved ones during performances. The four- piece poured out a harmonic variety of Californian sun-drenched psychedelic rock off their 2017 EP, Destroyer. Announcing that it was their first time in Canada, Valley Queen played a cover of Destroyer's Painter in Your Pocket after frontwoman Natalie Carol expressed her love for The New Pornographers and Dan Bejar in particular. For their last song, drummer Gerry Doot FaceTimed his wife and daughter on his phone in celebration of their 10-year anniversary."

11 May 2017
Marling's Chicago show was reviewed by Mary Huang of The Chicago Maroon, who pointed out that Marling recorded the live tracks for Semper Femina at Martyrs' on Chicago's North Lincoln Avenue in 2015. She also said Marling is even better live than on record.

Marling sounds better live than she does on her albums, and Sunday's concert was no exception. The transition to the upbeat, folksy section of Sophia sounded more triumphant when backed by a live band and the harmonies were especially magnified by the voice of the Topolski sisters, Emma and Tamsin. Although Marling sings alone on the studio version of Once, she was joined by the Topolskis for the chorus on stage. The sound of all three women kicking off the chorus in unison gave the song a celestial quality.

2 May 2017
Elle Carroll reviewed Marling's 30 April show in San Francisco for SF Weekly. She called Marling "America's friendliest guitar goddess" and went on to say:

...she didn't quite hit her stride until the band left their respective posts seven songs in. Alone onstage and shrouded in blue light, she took a moment to observe her Bay Area devotees. "I'm going to play a long, old song, so if you're ready for that than stick around," Marling said over a few excited whoops. She then launched into the four-song suite that opens 2013's Once I Was An Eagle. Its opening moments were greeted with thunderous applause, and justifiably so. Bathed in gold light, Marling transfixed her audience with the stunning fullness of her live sound. The crowd applauded for a good 30 seconds after she finished.

28 March 2017
Rebekah Shaw reviewed SEMPER FEMINA for The Mancunion, and said the record has a calmer, more considered feel to it than some of Marling's earlier work.

Marling is doing more than simply describing issues of patriarchal power upon the feminine: she is advocating change. Don’t Pass Me By can be seen as a referencing challenges to the typical image of the soft, passive female role in history, demanding to know "can you love me if I put up a fight?". Furthering this, Wild Once displays the stirring lyrics of "it’s hard if you can’t change it/it’s worse if don’t try", perhaps demonstrating the value Marling is ascribing to this project.

19 March 2017
Laura Snapes reviewed Marling's show at The Dome in Brighton for The Guardian. Here's part of her description of the show.

Laura Snapes She [Marling] does a bit where everyone gets to present a new fact they've learned that day. It's pretty awkward, in keeping with her enduring discomfort as a focal point (she mostly delivers her lines to the Dome's ornate ceiling). Enjoyably, she seems most comfortable when things start going awry. Womanhood has clearly been on her mind – playing solo, she flubs "dress" as "breast" on Nouel, and stops to laugh amid lyrics comparing a friend to Gustave Courbet's explicit painting L'Origine du monde. There are more mid-song giggles. The band returns and she asks if anything fun happened backstage. "Actually yeah!" a Topolski blurts [Emma and Tamsin Topolski are Marling's backuup singers], but declines to expand at the risk of embarrassment. "And I was out here being sincere," Marling rues.

17 March 2017
Rebekah Shaw reviewed SEMPER FEMINA for The Mancunion, and said the record has a calmer, more considered feel to it than some of Marling's earlier work.

Marling is doing more than simply describing issues of patriarchal power upon the feminine: she is advocating change. Don't Pass Me By can be seen as a referencing challenges to the typical image of the soft, passive female role in history, demanding to know "can you love me if I put up a fight?". Furthering this, Wild Once displays the stirring lyrics of "it's hard if you can't change it/it's worse if don't try", perhaps demonstrating the value Marling is ascribing to this project.

9 March 20107
Writing in The Guardian, Alexis Petridis noted that Marling's employs different accents from time to time on SEMPER FEMINA: Alexis Petridis

One minute it’s cut-glass English, the next it’s drawling Laurel Canyon. At one juncture, it even seems to head off for a short break in the West Country: "It feels like they tart us," she sings on Next Time, by which she means "it feels like they taught us". The affectations are jarring but obviously deliberate – someone as smart and self-possessed as Marling surely isn’t alternately singing like Joni Mitchell, a Mitford sister and one of the Wurzels by accident. But why she does so is an intriguing question. Is she playing characters? Adjusting her voice to suit the different musical backings? She art to tell us.

8 March 2017
John Pareles reviewed SEMPER FEMINA for the New York Times, and called the songs "folky melodies carrying profoundly enigmatic tidings". He also described the influence of Marling's new producer, Blake Mills:

Literary conceits melt in the intimacy of the music. Ms. Marling's voice and acoustic guitar, and melodies that sound as if they had always existed, remain at the core of most songs. Yet the production isn't confined to folky naturalism. If Mr. Mills has a trademark, it's using hands-on instruments in unconventional proportions, nudging the music toward the surreal. The Valley, a dreamy waltz that mulls jealousy, mourning and the nature of beauty, layers quiet guitar picking, vocal harmonies and string-section arrangements into hypnotic undulations, over sparse bass notes that alter the song's flow like rocks in a stream.

28 February 2017
Bill Golembeski reviewed SEMPER FEMINA for SoundBlab.
Here's part of what he said:

Wild One urgently reflects on youth, and the song chases "the stones" of childhood and the need to "remember". This is simple acoustic music, but it comes with a new-found sophistication. The same is true for Next Time, which is about failure, leaving someone behind, ending a relationship, and hoping "next time" will be better. Nouel is a love song to another woman who happens to be an inspiration...The album then ends with, Nothing, Not Nearly with the universal message "love waits for no one" which is delivered with a nice burst of electric guitar and an acoustic fade out to the end.

23 February 2017
Richard Tester wrote for The Yorker about Marling's Q & A session at Goldsmiths, University of London in early 2017, and quoted Marling's response to questions about the kind of literature she enjoys:

"I used to read a lot of fiction and I don't anymore, but I read a lot of poetry. So Gothic Romantic literature used to play quite a big part in my vocabulary of emotional experience. Now that I have my own emotional experiences, many of them, I like drawing on them and delving into poetry more, as well as literary fictional/fantasy."

26 January 2017
Laura Barton wrote an article for The Guardian titled "From Joni Mitchell to Laura Marling: How Female Troubadours Changed Music", In the article, Marling is quoted about the differing motivations of male and female musicians:

Laura Barton "I would say that feminine creativity is inherently different from the masculine, I had a lot of chats with Blake [Mills, Semper Femina’s producer], when we were making the record, about how we started playing guitar, and he was like: ‘I started playing because I wanted to impress girls.’ And that was obviously so different from why I started playing guitar – that was never in my brain, to impress boys. So even that crucial difference makes for a different musician. For me, playing guitar has always been tied up with my identity rather than enticing people in, it’s always been involved in myself."

20 January 2017
Graeme Virtue reviewed Celtic Connections for The Guardian, and described Marling's performance this way:

"Building from a bedrock of atmospheric strings, there were many intriguing flourishes: Marling’s plaintive vocal melody shadowed by a muted trumpet on I Was An Eagle; cinematic harp flurries emphasising the apocalyptic visions of Hope in the Air; a spine-tingling cover of Leonard Cohen’s Avalanche. It demonstrated that Marling’s knack for creating startling moments of intimacy could survive – and even thrive – on the broadest sonic canvas."


27 November 2016
Writing in Atlantic Monthly, Desiré Moses discusses Marling's podcast REVERSAL OF THE MUSE, which, she says, focuses on: Desire Moses "...the structural limitations of the industry at a time when women are still a rarity on the technical side of music. It’s estimated that less than 5 percent of music engineers and producers are female...Marling anchors the podcast as its host, providing her own valuable insights into the nuances of the music industry. Each episode of Reversal of the Muse revolves around a different question of Marling’s choosing, beginning with, do women learn better from other women?

"Outlining what she calls her self-imposed fear of coming off as silly, Marling posits that her music may have turned out differently had she recorded with female engineers and producers. The biggest reason? She says she would have felt freer to make mistakes."

18 November 2016
In an article for TIME, Marling described her reaction to the death of Leonard Cohen. "He was a poet of extraordinary elegance and class," she wrote, "one of the rare realist-romantics, a genre from which I have drawn a (so far) short life and career’s worth of inspiration. His lyrical world is so vivid, melancholy, solitary but not, crucially, isolated. Modern story telling, grown up romantic turmoil. In my mind he was always in his late thirties, always wearing a suit, always looking on gently to the world wondering how to move through it, always pondering his last love affair, always making space in his heart for the next."

11 October 2016
Genevieve Liston-Oakden described Marling's performance on 7 October at Soho for The Daily Nexus.

Genevieve Liston-Oakden "Marling’s affinity with her instrument is perhaps what distinguishes her authenticity as an artist. Her lyrics, meanwhile, conjure a web of images that suddenly resolve into relatable sentiments that touch each member of the audience individually. Marling has described her lyrics as "personal, but not confessional." By valuing sentiment over specificity, Marling bestows her listeners with the power to find their own meaning in them. It is this quality that ensures her feelings are translatable."

24 September 2016
Laura Sciarpelletti wrote about Marling's Vancouver show for, and said the songstress took to the stage dressed like a school teacher in head-to-toe beige and white fabrics, a scarf and suede boots. She said only this about Marling's new material:

Laura SciarpellettiAfter performing "Strange" and "Devil's Spoke," Marling treated the audience to three previews from her impending new album, sweetly asking concertgoers to not put one of them on the internet. However, it can be said that one new track was particularly lovely, with its focus on reminiscing to wilder and freer days.

13 August 2016
Marling was interviewed by Will Hodgekinson for The London Times. She revealed that she has set up a studio in Los Angeles for all her creative stuff, because London is "too expensive", and that she is writing songs again, but has no immediate plans for a new album. Last month, she convened a "pop-up studio" run entirely by women. She talked about the obscurity of her imagery: "My desire to be misunderstood is permanent. I know I sound like a raving hippy but I do believe songwriting is a dark art, a form of incantation or mantra. You can’t explain it away." She also had something to say about Freud:

"Salomé believed Freud’s idea of penis envy was incorrect. Women do not feel they lack a penis. It's more that they are like hermaphrodites, and entirely self-contained sexually. Freud acknowledged to Salomé that he might have been wrong, so can you imagine what would have happened if our entire western psyche wasn’t based on this idea that women lack a penis? I believe my predominant energy is masculine, even though I'm definitely feminine too.

25 July 2016
Laura Marling speaking at Girls' Music Day in London - July 2016 - photoby ELLENCPH Marling spoke in London on 23 July as part of the second Dice Girls Music Day, an event designed to inspire young women to become involved in the music industry, either as a performer or behind the scenes. Farah Dib wrote about the event for LeCool and had this to say about Marling's talk:

Farah Dib After a lunch break consisting of eggs and smashed avo (also obligatory in Shoreditch), the excitement back in the studio was evident as BRIT Award-winning singer/songwriter, Laura Marling, arrived. I’d assumed Laura would talk us through her musical journey and how she got where she is today, however I was wrong. Very wrong. This super intellectual lady got straight on topic, beginning her talk with some mind-blowing facts and historical theories on women in the creative arts. She’s not just been continuing to make music, but has been carrying out an investigation on women having certain roles in the music industry, such as sound engineers and producers, and the opinions surrounding this. Keep your eyes peeled for her podcast "Reversal of The Muse" – it’s going to be super interesting.

20 June 2016
Alexandra Pollard wrote about Marling's performance at Guy Garvey’s Meltdown Festival for Gigwise. Pollard was particularly fascinated by Marling's new song, Wild Fire which she said contains "...a line so striking it swirls around my mind for much of the rest of the show. It’s about a woman – we’re not told much about her – who plans to write a book...The song, which she performs flanked by a string quartet, two backing singers and her usual band, is musically ravishing too – traversing freeform through verses, bridges and a sort-of chorus without ever quite settling into itself."

19 June 2016
Betty Clarke also wrote about Meltdown for The Guardian. "Marling’s beautiful voice has matured and discovered a growing versatility," Clarke wrote, "High and airy for the character study 'Daisy', she’s light and confessional, dark and conversational on 'What He Wrote'. Watching the ethereal, glowing Marling morph into the hard-living, world-weary protagonist of Townes Van Zandt’s 'Waiting to Die' becomes a musical magical trick, such is the authority she displays." Marling also described her experiences with Kundalini Yoga, which apparently were not entirely pleasant. The Clara Quartet, Nick Pini, Saint Clair, and Matt Ingram provided backup.

6 June 2016
Malcolm Jack wrote for THE SCOTSMAN about Marling's 3 June show in Edinburgh, at which she described a previous trip to the city:

Apparently in a reflective mood, Laura Marling at different points recalled a trip to Edinburgh with Mumford and Sons as a teenager when she played Bannermans pub and wound up sleeping in a double bass case, and touring the UK packed in a Ford KA with “four sweaty lads” from Noah and the Whale. “Don’t forget I came from the streets,” she joked.

6 May 2016
Will Richards, writing for DIY Magazine, described Marling's next album this way: "While ‘Short Movie’ had a clear purpose and narrative, arriving after the slightly confused and turbulent release and tour of 2013’s ‘Once I Was An Eagle’, ‘Semper Fermina’ looks to have been conceived outside of these pressurised, urgent situations. As such, Wild Fire’ is a gloriously free introduction into the sixth age of Laura Marling, and tackle topics outside of herself and her struggles."

14 April 2016
Marling in Buenos Aires 2016 Josefina Chalde reviewed Marling's performance in Buenos Aires on 13 April for, pointing out that the singer had made one previous appearance there, on 18 May, 2011. Marling [Chalde wrote] returned to provide "an intimate review of everything that we missed in those five years of absence".

Rambling Man, Sophia (whose video was filmed in Argentina), and The Muse were interspersed in a setlist that was designed not only to review her discography and present a new theme (Wild Fire), but also to lead in to the covers, and what covers!: "Do I Ever Cross your Mind" was chosen by Laura to pay a beautiful tribute to Dolly Parton and then, because "it's fun to play", sang "Up To Me" by the great Bob Dylan.

15 February 2016
Marling performed on the final day of the 2016 BBC Radio 6 Music Festival. Here's what Alexandra Pollard wrote about it for Gigwise:

"He greets me with kisses / When good days deceive him / And sometimes... I... How does it go next?" It's understandable that Laura Marling's forgotten the words to 'My Manic And I'. Since she released that song at the age of 18, she's produced new music at such a prolific rate that something, surely, had to give. Her drummer can't remember either, so she sings an approximation of the verse: "That's the gist of it," she shrugs, before moving onto material that better showcases her intense, sprawling vocals. At just 26, Laura Marling is one of the greatest living musicians around, and we should thank our lucky stars that we're around to watch her talents unfurl. Hyperbolic? Perhaps. After watching her live, it's difficult to be anything but.


16 December 2015
Laura Marling's SHORT MOVIE made The Telegraph's list of the Best Albums of 2015. "It takes a rare rock guitarist," said Helen Brown, "to remind us that electricity is a potentially dangerous natural force but Marling’s new sound evokes the strange dark thrill of low skies before a storm. At times it sounds more like she’s plugged her guitar into a brooding thunder cloud than a man-made socket." The Telegraph also published a list of The 60 Greatest Female Singer-songwriters Of All Time, and Laura Marling is number 51 on it. (Joni Mitchell is number one.)

8 December 2015
Leah Rodriquez SHORT MOVIE is number 7 on the University of Delaware Review's Best Albums of 2015 list which was compiled by Assistant Mosaic Editor Leah Rodriguez, who said the album "...consists of personal reflection that’s generally uncommon for Marling, but as a whole, the album is a stepping stone to something bigger." SHORT MOVIE is also number 7 on Exclaim!'s Top 10 Folk & Country Albums of 2015. Daniel Sylvester saying: "Short Movie is a release that leads one to ask: Is Laura Marling even interested in folk music anymore? But why dwell on such trivialities, when Laura's obviously already moved past them?"

18 October 2015
Walter Marsh reviewed Marling's 17 October show in Adelaide, Australia for the now defunct Rip It Up, and described the tone of the show this way: "She’ll be quietly singing a few lines with nothing but a guitar, then moments later her two bandmates will have joined her in creating a mighty old din before quickly simmering back down again." Then he wrote about what seems to have been the high point of the evening:

Things got a little more relaxed when she moved on to two consecutive covers, the first a take on Dolly Parton’s 'Do I Ever Cross Your Mind', the B-Side to her 1982 re-release of 'I Will Always Love You'. Clearly excited to be delving into some 'rare Dolly', Marling seemed more at home with the cover than her own composition that came before it. Things were a little shakier with an off the cuff cover of Joni Mitchell‘s 'Both Sides Now', which saw Marling generate a beaming rapport with the audience when a few forgotten lyrics had to be crowd-sourced.

8 October 2015
Marling appeared on day one of the Hardly Strictly Bluegrass Festival in San Francisco, CA. Kayla Oldenberg, writing for The Daily Californian, described her performance this way:

English folk singer-songwriter Laura Marling’s slow, breezy voice entangled in knots throughout a sea of straw hats of the sun dazed audience. "I feel like Laura Marling just sang me a love song," remarked the emcee emphatically after her set.

6 September 2015
Will Butler reviewed Marling's 5 September show at THE FORUM in London for Gigwise, calling Marling "a spiritual and celestial presence.

Because what used to be a circular argument revolving around Marling’s likeness to Joni Mitchell has now fizzled out into an industry-wide appreciation of her solitary status as an artist. Her guitar prowess is a sight to be seen since Marling has developed into a truly underrated style-maker of the instrument. She can swap her fingerstyle from playful and intricate scale runs to the crushing sounds of a harnessed tempest like on 'Alpha Shallows'.

24 August 2015
Marling performs at the FYF Fest in Los Angeles - August 2015 Performing at FYF FEST in Los Angeles, Marling played no songs from the album SHORT MOVIE. Raymond Flotat wrote about day two of the festival for MXDWN.

There is seldom an effort to interact with the crowd, but what she [Marling] lacks in audience engagement charisma she more than makes up for in a holy crap dimension of songwriting, chops and illuminating vocals. She sings like someone from a time gone by, or better yet, a time and place we haven’t experienced, as if she’s some bizarre wood elf out of a fantasy story...

9 August 2015
Tyler Trew, writing for YOUREDM, says that experimental producer OLUGBENGA's remix of Laura Marling’s single “Divine” is "a track that can’t be put into a box", and called it one of the more unique records he has heard this year by far.

19 July 2015
Alexandra Pollard reviewed Marling's performance at the 2015 LATITUDE FESTIVAL for Gigwise, describing the performance and its technical problems:

Even some of the more melancholic tracks on the album, opener 'Warrior' for instance, she injected with bluesy riffs and syncopated drum beats. When she did allow her acoustic style to creep back in, her voice, drenched with a pure and soaring vibrato, pierced the air with such precise clarity that the crowd fell utterly silent.

Later, after deciding on the spur of the moment to perform two songs without the band, she began to close the set with Short Movie's title track, before promptly stopping, unhappy with its tuning. After a second false start, she turned to the crowd and said, a dejected look on her face, "Oh, this is rubbish." It wasn't. It never is.

19 June 2015
Elisa Regulski reviewed Marling's performance at Central Presbyterian Church in Austin, TX for Glide Magazine, saying that "Marling had the listeners chuckling and sighing as she adorably fumbled her words and described her discoveries at a local antique store."

Elisa Regulski

Marling opened with 'Howl' a smooth and languid siren song from her latest album, Short Movie. The crystal-lit crucifix illuminated the altar during 'Once,' a tune written in the CPC’s stone hallways years earlier. This nostalgic ditty dripped with longing and seamlessly transitioned into 'I Feel Your Love.' Unlike [what] the title suggests, this biting melody is a tumultuous whirlwind of pulsing desperation. Her syrupy voice dipped between breathy high notes and creamy lower tones. With the accelerating momentum of a derailing train, Marling fluttered the lyrics, 'I feel your love. Please let me go.'

26 April 2015
Kitty Empire wrote about Marling's show at the Corn Exchange in Cambridge for The Guardian. This quote names Marling's band members:

Take the Night Off, part of a suite of songs from Marling’s last album, Once I Was an Eagle, is given a makeover. Every time Marling sings “be bad for me”, guitarist Pete Randell, bassist Nick Pini and drummer Matt Ingram crank up a gear, and Marling’s own guitar motif grows more strident. Twenty intense minutes go by before we are allowed the space to whoop.

25 April 2015
Sarah Walters, writing in the Manchester Evening News about Marling's Albert Hall show, waxed poetic about the performance:

Sarah Walters

"Vocally, she's probably the purest singer of her generation: effortless ascending the octaves but also utterly dripping in pathos. The fact this angelic character can also tear I Feel Your Love out of a growling electric guitar like a British Kristin Hersh or tickle the neck of her blues dobro on How Can I? like a worldly busker on Beale Street these days just puts her on a higher musical plain: no longer the sweet folk artist singing about her nightmares, it's the sort of game changer that got Bob Dylan called Judas just across the road from here at the Free Trade Hall."

Alice Vincent 21 April 2015
Alice Vincent reviewed Marling's 20 April performance at Queen Elizabeth Hall in London for The Telegraph. Here's an excerpt:

Even her back catalogue, such as When We Were In Love and Sophia, got this beefed up, bluesy treatment, with walking bass lines and quietly thrumming percussion from her band which melded old and newer songs seamlessly. Master Hunter was feverish, Marling spitting out lyrics with a staccato zeal that hinted at Anthony Kiedis circa 1987, and Debbie Harry’s swaggering Rapture rap.

24 March 2015
The Dublin folk band Villagers (Conor O'Brien, Tommy McLaughlin, Danny Snow, James Byrne, and Cormac Curran) opened for Marling at her Warsaw, NY show on 23 March. Karen Gardiner reviewed the show for The Village Voice:

Karen Gardiner "In spite of the heavier tone of her new material, the electric part of the set is quite short. 'We're going to tone it down a bit,' she said, taking up her acoustic guitar for 'Walk Alone,' one of Short Movie's quieter moments, followed by 'David,' whose lyric 'A wasted love is a life of regret' she sings with the full-throated emotion of a wizened woman. The earlier music that she sprinkles through the set is rearranged and the phrasing adapted slightly so that new emotion is wrung out.

23 March 2015
Laura Marling released SHORT MOVIE - DIRECTOR'S CUT, a deluxe edition of her fifth album that is different from the original in the following ways: New versions of the songs I Feel Your Love and Warrior with full-band arrangements have been added, and two songs, Daisy and David, previously available only on 7 inch vinyl, are now included in the album, which is available on iTunes for $10. (If one already has the album, one can just buy the last four tracks.) In a press release, Marling explained:

"We recorded them this way to honour the alchemical change that occurs within a musical group when you add a new brain or flavor to it. Pete’s style of playing combined with a lack of need to be delicate for the sake of hearing strings led to the tone becoming thicker and grittier. And as an unexpected result, we discovered that we like sticky rhythms…and seem to speak a similar language in rhythm and tone, it’s a very special quite rare thing!"

21 March 2015
From Helen Brown's review of SHORT MOVIE in The Telegraph:

"While lyrics about ancient priestesses, magic oranges and noble paths are the folksiest on the record, the note of fierce independence set the tone. She’s brazenly confrontational, railing against Californian positive-thinking on Don’t Let Me Bring You Down. America’s landscape seems to give her the release its culture frustrates: she sings of wolves and a sun that 'kicks the moon off the mountain' on the swirling Howl.

18 March 2015
In an interview with with Doug Wallen of Faster/Louder, Marling discussed some of what she was thinking about when she wrote her latest album:

"I’m interested in morality and the origins of morality, and how confining the idea of masculinity and femininity is. I spent a lot of time thinking about that with this record, because I’m at an age where that becomes an interesting question (what you have defined yourself as at this point)...I think there are aspects of masculinity and femininity in all things, and I see a lot of frustrating confinement in men and in women, in very different ways, about the restrictions of these particular roles."

14 March 2015
Speaking to Christoph Dallach of Time, that, since spending two years in Los Angeles, she drives on highways in her dreams. Marling also spoke of her childhood dreams:

"In a nightmare that haunted me for years as a little girl, I saw from afar that my sisters were trapped in a maze, and I could not help them. As a teenager I had, like many children of my generation, a lot of exciting Harry Potter dreams. To become a musician was never my dream, and I'm still not sure if I will be happy in this profession in the long run. My parents wanted to talk me into it at first, but then let me choose."

19 February 2015
Andrew Perry wrote about SHORT MOVIE for Mojo Magazine (issue #257). Asked why she moved to the US in 2012, Marling said: "I moved there with a boyfriend, then we broke up, and I stayed. It was like my sabbatical, my break from everything." Perry describes the album's first track this way:

"Warrior opens with unmitigated urban white noise (ventilator echo? distant traffic?) before finger-picky acoustic and Laura's ageless trilling muscle in - although in this symbolist narrative, unlike last time's, an equine heroine confidently sees through an exploitative male 'rider' as too weak, not warrior enough, and dispenses with him."

31 January 2015
Tim Lewis interviewed Marling for THE OBSERVER, Here's an excerpt:

"I can’t do small talk really, and that’s fine. I’ve got old friends and family that love me, thank God. I’m grateful for what a city gives you access to, but I do feel that I’m only here until I figure out how to get out again." First there is a tour to support Short Movie, and then perhaps another stint abroad, maybe Argentina: "For some reason, I really feel South America is in my future." Does she believe she’ll fit in there? "I think I’ll feel out of place wherever I go on earth, forever. But that’s fine. I have to make my peace with that."

29 January 2015
Lauren Ballinger reviewed Marling's 28 January gig at The Trades Club in Hebden Bridge for The Examiner. (Marling explained that the track "Gurdjieff's Daughter" was about advice Armenian spiritual teacher George Gurdjieff gave to his daughter [Reyna D’Assia], which she passed on through a bizarre encounter with Chilean film-maker Alejandro Jodorowsky.) Lauren Ballinger

In a room packed with 200 fans who fought for tickets, then struggled through the snow to get to Hebden Bridge, the excitement in the room is tangible. Laura and her percussionist, bassist and guitarist enter the room in an icy blast from a side door and step onto the stage to huge applause, whoops and screams. The first two songs are new ones - 'False Hope', and 'I feel Your Love'. Lyrically intricate, emotional and soul-bearing, the new tracks show a development of ideas from her previous album, Once I Was An Eagle - and experiencing this vulnerability in such an intimate venue feels almost voyeuristic.

2 January 2015
Marling told Emily Tam of Diffuser FM that she plays electric guitar like she does acoustic, and went on to say: "I think a lot of this record is about feeling — not consciously, but in retrospect — desperately lost in translation [living in Los Angeles]. I had an old mentor, an American chap, who kept saying to me, 'It's a short movie, man', which I thought was quite funny, so there are lots of Americanisms like that in it,"


26 December 2014
Randall Roberts LA Times music critic Randall Roberts reports that Laura Marling has moved back to London. "I just kind of liked the adventure of it, and I didn't leave. And I'd sold all my stuff at home as well, so I didn't have a home back in London," Marling said of Los Angeles, where she had lived since the spring of 2013, and where her new new album SHORT MOVIE was written. Roberts called SHORT MOVIE Marling's best album, explaining: "It's the first to feature Marling moving from acoustic to electric guitars, and that shift has added a heft to her exquisitely crafted and performed songs. The best of them reflect time spent alone, explore past and present relationships with a thoughtfulness that suggests some mystical mix of Joni Mitchell, Jeff Buckley and Chrissie Hynde."

9 December 2014
Iman Lababedi wrote for ROCK NYC about Marling's performance at the tenth annual Holiday Cheer for FUV concert on 8 December at the Beacon Theatre in New York City, and said of her two-song, six minute solo acoustic performance that "it was hands down one of the best performances of the year." Later in the review:

The two songs she played were rhythm guitar works, they beat hard and they beat constant and Laura sang spoke them somewhere between "It’s Alright Ma, I'm Only Bleeding" and Danny Brown’s "Old". She kept the flow but also teased it out and stretched it bent then straight again...The second song "How Strange I Love You" she's had since September of last year and it is the keeper, the story of infidelity and a search for meaning, his meaning, the married man with a wife and children for whom love is a violent shake awake.

6 December 2014
Alexandra Pollard Alexandra Pollard writing for GIGWISE reported that Marling performed four previously unheard songs at a nameless, invitation-only club in Los Angeles on 4 December. (One of the owners of the club is Bryan Ling, manager of Edward Sharpe and the Magnetic Zeros.) Her return to the stage featured a full band with Marling on the electric guitar for three of the four songs. NME reported that Marling's fifth album will be released sometime in March, and briefly described Thursday's performance:

Her first track was a jangly tune set in New York's Upper West Side, a departure from anything on 'Once I Was An Eagle'. Her adopted hometown also found her penning lyrics about posting letters out of Central LA to a man she would've left with, had he taken her away. "I can’t be your horse anymore/You’re not the warrior I’ve been looking for" she sang on another track, adding later in the song, "I’m just a horse with no name/Somewhere, there are other beasts who think the same."

1 September 2014
Laura Marling appeared (29 August 2014) at the (sold out) IN THE WOODS FESTIVAL. Kate Prendergast reviewed the festival for Supajam.

"Laura Marling’s set was jam-packed with the ITW crowd and her set was full of an eclectic mix of her material. The crowd listened intently to her melodic, poetic tunes and they really opened up and started dancing when Laura started playing ‘Ghosts’ followed by Laura commenting on how strong the Biddenden cider is down here!"


Marling DJing at Notting Hill Arts Club in London 20 December 2013
Allan Cole, writing on Tumblr (the post has since been removed), described Laura Marling's turn as DJ last 18 December at the Notting Hill Arts Club this way:

"The both folky and alternative line-up included Bearskin, Jetta, and Marika Hackman – it couldn’t have been more diverse and fun! The club was all dipped in stars and fairy lights and the late-night bonus was a beautiful Laura Marling on the mixing deck. A singer songwriter would perhaps not necessarily be expected to be a smashing electro freak but it was fun watching her and dancing along to RHCP and the like."

2 December 2013
On Rolling Stone's list of the 50 Best Albums of 2013, Once I Was an Eagle is Number 20. The magazine said:

Marling is the most compelling singer-songwriter of the U.K. roots-revival scene, with a voice that conjures young Joni Mitchell. Kicking off with a heart-surgical seven-song opening suite, her fourth LP is the record Carey Mulligan in Inside Llewyn Davis might have made after kicking Justin Timberlake to the curb.

8 November 2013
Stephen Young, writing about Marling's Dallas show last 7 November, said that Marling performed two new songs. "For the new songs," Young said, "Marling picked up -- and acquitted herself quite nicely on -- an electric guitar. It was an intriguing, if subtle, departure from the rest of her material, and portends well for her next album."

Oliver Giles 01 October 2013
Oliver Giles reviewed Marling's performance at Edinburgh's Usher Hall for THE JOURNAL (Scotland's Student Newspaper). He said that Marling revealed her introspectiveness.

...this tour-launching gig is Marling’s first time back on British soil in months. "I'm going to play you a song that I don't play much anymore because it means a lot to me," she admits. Just before she begins 'Goodbye England (Covered in Snow)' Marling appears pained, looks at the floor and declares: "I wish I hadn’t told you that."

26 September 2013
David Pollock reviewed the 25 September Edinburgh concert for The Independent, saying in part:

In contrast to the well-spoken 23-year-old daughter of a Hampshire baronet before us, demure in leggings and a blouse, commending our applause as being "very polite" and joking about tuning her G-string, her in-song persona is something otherworldly and richly defined. With every sigh and piercing cry, she switches from tangible sadness to palpable sexuality to regret and a simmering anger beneath the surface.

25 September 2013
In an interview with Neil McCormick of THE TELEGRAPH, Marling is quoted as saying: "When I play, I am very much in the space where I was when I wrote the music. You could slay me quite easily, I'm at my most vulnerable. I am very private, in all aspects of my life, to everybody, so why is it that I get up on stage every night and open myself in front of strangers? I'm not sure if I've got the bottle for it, any more." The interview ends with this cryptic statement from the singer: "I am a solitary person but I love people, I'm not a misanthrope. I like the idea of speaking only when it's strictly necessary. The closest I ever feel to people is in shared experience. I'm still exploring that, I don't know where it's going to lead me. But there are others like me, that's all I'm trying to say. I'm not alone."

20 September 2013
Bob Hill wrote about Marling's live session for New York's WFUV at St. Ann's Church in Brooklyn Heights. He called his article (for I Fear Brooklyn) Why Laura Marling May Very Well Be the Most Important Folk Artist to Come Along in 40 Years Here's a quote:

...standing alone there on the dais, free-strumming the only six-string she'd brought along with her that evening. Laura Marling, who opened up with a 19-minute suite of new material, who played throughout with very little sense of ego, who inhabited the same space of every narrator in her songs, who stared quite listlessly into the gulf for want of casting out the herd, who never broke out of her rhythm nor exceeded her known range. Laura Marling, who delivered the most honest and gut-pure performance I've ever witnessed on an altar.

10 September 2013
Marling's show at York Hall in London, was reviewed by Gemma Hampson for Chash Music. The hall was sold out, but a quarter empty. On some of the older songs, some audience members sang along. Here's a quote from the review: Gemma Hampson

There's room for a new song, 'One Day Soon', worlds away from what precedes it. Marling effortlessly hits the most beautiful high note in a song that is more soulful and less folk-blues than her others, giving us a hint at what might come on the next album. And unlike her performance at Secret Music earlier this year, there's room for some oldies. 'I Speak Because I Can' and 'Rambling Man', one almost running into the other, are brilliant, while 'What He Wrote', a tale of lost love, is heart-breaking and huge sounding in this echoing hall.

3 September 2013
In Philadelphia on 30 August, Marling did two shows. Wearing cutoff jeans, she did a Free at Noon Concert at World Café. Video is available on YouTube. Later she did a longer show at the Prince Music Theater. The blog ORANGE AND A DEEP BLUE IRIS wrote about that show, and below is a quote. It did not specify which Allman Brothers song she covered, but it was probably Whipping Post.

"...she thanked the audience for our patience; as if it were not immensely enjoyable to fall into her world for however long she chose to have us. She spent a bit of time throughout the set tuning her guitar, and joked about it, saying she has yet to master the art of banter while tuning. She also treated us to what I gathered was an uncharacteristic cover. 'I drove from Columbus, Ohio, [She said] yesterday, and was listening to this song by the Allman Brothers.' Her woman-with-a-guitar version was lovely, but she conceded she may be 'too English' to properly pull it off."

21 August 2013
Marling spoke to Leah Garass of The Current about her guitar collection. Here's part of what she said: Leah Garass

"I tour with Mason guitars but they're built to be bashed around. They're new ones, you know, so they don't have a character yet...the one I've got with me now is a Martin D-45 or something, a Dreadnought. And I've got a couple of those, which makes me sound very privileged, but I have a touring collection of guitars. My precious one that I don't take anywhere - in fact I've moved to Los Angeles and I refuse to take it with me on the plane so it's still in London - is a Martin M-38 from the '80s, the year that they stopped allowing guitars to be made in Brazilian rosewood, so it's the last Brazilian rosewood guitar."

16 August 2013
Melissa Miller reviewed Marling's show at the Pabst Theater in Milwaukee for JS Online, saying that: "Throughout her hour-long set, she frequently channeled the spirit of Joni Mitchell. And on 'Love Be Brave,' she delivered poetic verses like 'I am purpose and regret' and 'Hold me darling, make no sound/silence speaks for me' with such sage conviction, it was like the 23-year-old petite blond woman had transformed into the suit-wearing, 78- year-old master Leonard Cohen.".

15 August 2013
In the Minneapolis Star-Tribune, Chris Riemenschneider wrote about Marling's 14 August show, saying that the set was less than one hour in length, and suggesting that the fifth song that she performed had no title and might be a new one. He called Marling's opening act, Paul Metzger, a "banjo experimentalist", and said Marling described him as "otherworldly".

Marika Hackman 29 July 2013
Harvey Ray, writing for The West Australian, after reviewing Marling's performance at St Joseph’s Church in Perth, mentioned that UK singer/songwriter Marika Hackman "had blown everyone away in her half-hour support slot, moving between electric and acoustic guitars, her deft playing and interesting effects mesmerising to watch." Hackman's first EP, That Iron Taste, was released last February and is available from Amazon. At the final show of her Australian tour, Marling called Hackman "one of the best songwriters I've heard in a long time".

25 July 2013
Jonno Siedler reviewed Marling's 24 July performance at St. Stephens Church in Sydney for THE VINE. He begins his article this way:

If there is a god watching over us, he'd do well to take some notes from Laura Marling. Having filled an inner-city church on three consecutive weeknights, the British-born, Los Angeles-living performer is all about creating a religious experience. At this in her still amazingly-young life where she can do whatever she wants, Marling has elected to perform her entire tour at venues like this. The pews are packed but the Bibles are closed — the Guardian Angel of Anguish is in town.

23 July 2013
Marling was joined onstage by Ruth de Turberville for her first Australian show of 2013 at St. Stephens Church in Sydney. Bernard Zuel wrote a brief review for The Age. Here's a quote: Bernard Zuel

Far more convincing and far more focused than when she last played here...Marling's voice also sounded astonishingly good: taking flight without a flutter; rolling firmly through the depths. She's now singing with her microphone stand set higher, making her turn her throat and head up. It may have been for reasons as simple as countering what used to be a natural tendency to look down when confronted by an audience but it certainly feels like there's more than aesthetics at play here. Like so much about Laura Marling, it's a move which plays on several levels and all of them captivating.

12 July 2013
Fabien Riggal, Secret Cinema's director, told Katie Collins of WIRED how building a world around Marling's music was much like doing so with a film, and went on to speculate on what a Secret Festival might look like.

You can imagine Laura Marling and the Grand Eagle Hotel would be one world, and then another artist would be another, and who knows, they might even bleed into each other. I'm really interested in the unknown and creating an experience where people let go because of the mystery, they let go and become someone else. You might just hear music coming from the wood and then find a band up a tree and you have to climb up and listen to them.

4 July 2013
Perri Cassie Marling spoke to Perri Cassie of Faster Louder in Australia, and among other things, said this:

It used to make me very uncomfortable that people would come to conclusions about who I was, but now I just don't care. It's fucking fabulous...It doesn't bother me so much that people might come to a different conclusion because that's what they're supposed to do, they're supposed to come to conclusions. They're just meant to be open to the music and whatever their though process is after that is entirely their own and no business of mine.

17 June 2013
Reviewing Laura Marling's Secret Cinema show for The Independent, Andy Gill called it "...a marvellous evening's fun for which the climax is provided in the adjoining ballroom by Laura Marling, sylph-like and glowing translucently in a clingy floor-length white dress slit dramatically up the side, looking for all the world like the troubadour version of Veronica Lake."

17 June 2013
Neil McCormack reviewed the Secret Cinema show for The Telegraph and was also impressed. He described part of the show this way:

"By the time we were shepherded into a makeshift ballroom where Marling performed a full set, the audience had been softened up into a state of heightened receptivity. The focus was extraordinary, as Marling talk-sang her way through songs of near mythic depth and emotion. I found myself mesmerised by how tightly her melodies wrap around her very particular guitar playing, fingers flying up and down the neck to pick out notes. During Little Bird, a woman in the crowd started sobbing softly."

12 June 2013
Alexandra Pollard "I am currently wearing my Laura Marling t-shirt. I felt this important to admit" begins Alexandra Pollard's review of Once I Was an Eagle for THE YORKER. Of the opening track, Pollard says: " 'Take The Night Off', shows just how much Marling's vibrato has improved, as her voice soars and glides effortless between octaves. Try singing along, and you will realise quite how extraordinary her range is. I learned the hard way."

27 May 2013
El Hunt
- This Is Fakediy

26 May 2013
In a review of Marling's most recent show in Toronto for, Sarah Murphy relates that, when Marling's flight was canceled, the singer drove the 800 kilometers from Chicago to Toronto in a rental car to avoid missing her scheduled performance.

26 May 2013
Annie Galvin reviewed ONCE I WAS AN EAGLE for Slant Magazine. She described the album's theme this way: Annie Galvin "With a few exceptions, Marling wraps autobiographical references in figurative or mythological camouflage: She becomes a forest predator on 'Master Hunter' and a presumably male lover trying to resist the call of a sea nymph in 'Undine'. Themes explored in her previous albums—childhood, water, self-protection—resurface here, yet the compositions are far more intricate, her classically influenced fingerpicking replacing steady strumming; comparisons to Mitchell finally seem off the mark, as Marling relies less on the swift falsetto trills that characterize her predecessor's sound, settling instead into her rich, steady lower register with sparser, well-considered upward breaks."

26 May 2013
Kitty Empire reviewed ONCE I WAS AN EAGLE for The Guardian, saying that Marling "can deliver a haughty line with the assurance of a master".

Kitty Empire Unlike her more recent albums, this one features mostly Marling herself, bandless, becoming more and more erudite on guitar, unleashing elegiac ragas and Spanish cat's cradles (the expressive Little Love Caster. Non-guitar sounds including organ and lap steel are provided by multi-instrumentalist-producer Ethan Johns and two close friends: Ruth de Turberville on cello (she provides the vinyl-flipping Interlude halfway in) and keyboardist Peter Roe, on board since the first record.

22 May 2013
Colin Joyce In an interview with Colin Joyce of SPIN Magazine, Marling said her new album was strongly influenced by music from the late 1960's, specifically records by Nancy Sinatra, Lee Hazelwood, and David Axelrod, that were made "...around the time that the Beatles were using Eastern-sounding instruments and atonal scales. Those influences freed my guitar playing a lot, and I tend to write melodies on guitar as well. So the melodies were a little bit more free and uncomfortable sounding at first. [On the song 'I Was an Eagle'] there's a hurdy gurdy, which isn't Eastern but does have that atonal feel."

22 May 2013
Matt Langham reviewed ONCE I WAS AN EAGLE for MUSIC OMH, saying in part:

Mentioning Dylan, Marling even adopts a nasal sneer at times, having name-checked a 'freewheeling troubadour' earlier in proceedings in You Know; and it's not the only allusion to other, often more senior, artists. The cover's sombre portrait may well be a more subtle reading of Bat For Lashes' arresting image for 'The Haunted Man' – Marling instead turning away; vulnerability inward. More importantly, the record's title dovetails with Bill Callahan's 'Sometimes I Wish We Were An Eagle'.

22 May 2013
Johnny Rimmer reviewed ONCE I WAS AN EAGLE for

Marling is utterly galvanising, playing the tension between the strummed guitar bursts and reflective verses beautifully. She also demonstrates her range on more melancholic tracks, with her delicate quiver on 'Little Love Caster' and 'Devil's Resting Place' swirling alongside Latin finger picking; a sound that one would usually associate more with a husky male voice (think Matt Elliott or even Tom Waits).

22 May 2013
Raymond Flotat reviewed Marling's 21 May show at the Masonic Temple in Los Angeles for He praised Marling's talent with a guitar.

Standard fans may not notice it, but Marling is a studied virtuoso in the basic tenets of what makes for true folk songwriting. She balances a diverse approach to chords and melodies, leaning heavily on root-and-chord progressions and modal melodic change-ups. Marling needs no capo—the locking device that allows the guitar to be played in a different key without re-tuning—she wields the skill to play chords in any key required without the added help.

21 May 2013
The CD Critic

20 May 2013
Aaron Lavery - Drowned In Sound

18 May 2013
The Sydney Morning Herald ran a feature on Marling by Bernard Zuel.

14 May 2013
Speaking with Tom Lanham of the San Francisco Examiner, Marling says that the album Once I Was an Eagle "...follows a central character wandering through a gray landscape, and all the while she's followed by this silent bird, which doesn't come into play until the end of the album, when it hurts its wing and falls at her feet. And she finds a reason for living in saving this bird, and — once its wing is fixed — she sends it off to an unknown person across the sea, whom she can see but can't speak to."

13 May 2013
Gemma Hampson Gemma Hampson, writing for Clash Magazine, called ONCE I WAS AN EAGLE "a beautiful achievement", and went on to say:

It's speckled with varying styles from Balkan to Americana, and sewn together with some of Marling's most tender songwriting of recent years...There’s a Jolie Holland (or Jodie Foster) recalling accent creeping in, which is odd for a Hampshire girl. But Marling’s voice is still wonderfully intimate, and mature beyond its years.

27 April 2013
Laura Marling moved from London to the Silver Lake neighborhood of Los Angeles. Asked why, she said: "If you're someone like me, who likes to be alone but doesn't want to be lonely, this is a very good place to be. England is not. I think I can say that." Tom Lamont, writing for THE OBSERVER, describes her new place:

Tom Lamont She has a proper American address, a house number in the thousands on a residential road the length of Oxford Street. Her building was a factory in the 1920s and now it's full of pleasant, compact apartments...Inside Marling's place, neat and mostly kitchen, there are various markers of west coast living. A wooden table was made for her on Venice Beach by a carpenter called Jesus. There's a 1970s copy of Playboy lying about and a jar on the windowsill, heaped with cigarette ends, that once contained organic tahini.

25 April 2013
Ian Hughes wrote about the Stratford production of AS YOU LIKE IT (for which Marling wrote lyrics) in the Stratford Observer, saying in part:

Here she [Director Maria Aberg] adopts a more cohesive contemporary folk template - helped by having singer-songwriter Laura Marling supply the soundtrack - from joyous Mumford & Sons-esque pop to slightly sinister Wicker Man-like balladry. It was all inspired apparently by a visit to an exhibition of photographs documenting a year of contemporary folk events in Britain.

The play ran through 28 September 2013. The RSC has shared a trailer on YouTube, complete with one of Marling's tracks recorded for the project.

25 April 2013
Uncut Magazine June 2013 cover According to UNCUT MAGAZINE, Laura Marling briefly abandoned music in 2012 and trained as a chef.

The singer/songwriter was plunged into a deep depression after ending a dysfunctional relationship, and she was gripped with crippling self-doubt about her chosen career. The Brit became convinced her life as a musician would not last, so she decided to take a break and re-train for a new vocation as a restaurant cook.

In the same interview, Marling also described an adventure she had in Oregon in 2012 after an enigmatic medium advised her to drink the waters of California's Shasta Lake. She ended up falling into the lake in the middle of the night and filled a canteen. "I didn't take a sip of the water until later," she said, "when I stopped for gas. Nothing could describe the taste. I'd never tried anything like it."

8 April 2013
Marling participated in the first London edition of Dingle's annual OTHER VOICES event. Nick Hasted, writing for The Independent, described the event at Wilton's Music Hall, saying this of Marling:

Nick Hasted "Laura Marling, focusing on her new album Once I Was An Eagle, uses her pale beauty with still power, her strong gaze matching the songs' arresting pile-ups of imagery. If you think the torrents of words recall Dylan, well, 'It ain't me, babe,' she chides on 'Master Hunter', and if she hardly seems the devil-marked woman of 'Pray For Me', her desire to try on characters and stories, not confess, is her most Dylanesque trait."

22 January 2013
In January 2013, Marling interviewed the SMOKE FAIRIES (Jessica Davies and Katherine Blamire) who have toured with Marling in the past, for The Lab Magazine.


Katie Wilkinson 17 December 2012
Katie Wilkinson of Freedom Spark describes Marling's Christmas session at Shoreditch House in East London on 16 December. She says Marling performed a new song (and tells us nothing about it other than its length), and also that: "After exiting the stage, for perhaps the first time ever she does an encore as she 'had nowhere else to go' and would have had to cross the stage to exit it anyway."

26 October 2012
John Seven interviewed Marling. Here's what Marling told him about the guitar she used when writing songs for ONCE I WAS AN EAGLE:

"My dad had loaned me a Gibson 335 and I'd only played it when I was a kid, messing around with it," Marling said. "You can't pick up a guitar like this and sound bad, even if you do a horrible, out-of-tune note, The tone of it is so raspy and warm at the same time. It's like the sound that I associate with watching virtuoso musicians in blues halls in France, old hippies still playing wine bars, which I love. I wrote quite lovely on that guitar, through an old, pretty bad amplifier, and the natural result of that is that there are some bluesy turns and notes and things that are easily slipped into on a guitar like that."

22 October 2012
Selena Frye of reviewed the 20 October show at the Zanzibar:

Selena Frye "...on the crowd favorite, 'Rambling Man', the familiar lyrics spilled from the audience unbidden, resulting in an impromptu choir that blended quietly with Marling's lead. Sometimes sing-alongs aren't that welcome, but this one was kind of nice."

7 October 2012
Jennifer Tibbett The Portland show on 28 September was reviewed by Jennifer Tibbet for OREGON MUSIC NEWS. Here's a quote:

It was as if [Marling's] hands never stopped working their way up the fret board, as she traversed from one song to the next. She played several live favorites that will eventually find a home on her 4th album, including "Once," "Love Be Brave," and "I Am A Master Hunter"; ...after bemoaning the loss of her reputation in Portland following a visit to a strip club, she did a cover of Simon & Garfunkel’s "Kathy’s Song" that made all the grown men cry. Not really, but it should have.

5 October 2012
Katie Carroll (the blogger not the singer) interviewed Marling last October for MXDWN. Marling said this to Carroll about the new album: Katie Carroll

"We've done a lot with resonance. I like low resonance; I think that's interesting, when you can barely hear a tone underneath a tone. And also because there's a lot to do with characters in this new album, we've kind of assigned a sound to each character that reappears throughout the album whenever they're relevant."

28 September 2012
Dan Coxon reviewed Marling's performance in Seattle on 27 September for CULTUREMOB saying, in part:

" Marling seems to have a compulsive desire to mix things up. At times her guitar playing verged on Led Zeppelin-style rock, while her lyrical twists owe a clear debt to Dylan’s folk storytelling. Opening with a couple of new tracks, she spellbound the audience nonetheless with both her technical skills and her poetic penmanship."

28 July 2012
Luke Burns of SHUT THE FOLK UP blogged about Marling's recent performance at Grace Cathedral in San Francisco. Here's a quote:

Luke Burns "After a couple of songs, Laura Marling paused to retune her guitar. The cathedral sat patiently in the quiet darkness as she worked. Suddenly aware of what must have seemed to her to be a gigantic awkward silence, she said quietly into the microphone, 'Stage banter isn't really my strong point.' We all laughed at her generous self-deprecation, but beneath the sweetness there was a sharpness. We were being told by Laura in the most disarmingly charming way that we had to take what she was offering, and that we shouldn't expect any comforting small-talk from her any time soon. This is part of the duality that defines Laura Marling, an innocence and a cold reality that to me just seems so quintessentially English. I'm not complaining, however. In that dress, with that voice, with those legs, I could sit and watch her tune a guitar all night."

17 July 2012
Susan DeFeo of the blog THE DAILY GLOW (where health meets beauty) described the makeup and clothing Marling wore to do her TINY DESK CONCERT for NPR:

"...a hint of peach blush complemented her alabaster complexion. She wore a touch of mascara on her lashes, dark red polish on her nails, and shimmery light pink lipstick covered her sweetheart lips. Her porcelain skin and platinum hair were accentuated by her all-black ensemble. A black leather jacket covered her knee-length black dress and black stockings. Oversized rings adorned her guitar-picking fingers and a dangling bracelet hung from her wrist."

20 June 2012
Speaking with Mike Burr of Prefix Magazine, Marling said this: "There are several singers that I grew up with that I love. The most obvious one is Joni Mitchell. And then in recent years, there's a girl named Nina Anastasio who has a vocal style that is just penetrating." A cursory search of the web turned up no singers named Nina Anastasio. In 2008 (see below) she told The Guardian that Nina Nastasia was one of her major influences, so this must be a misspelling of that name.

19 June 2012
Igor Bonifacic reviewed the Toronto show on, saying that Marling previewed a new song which was "probably one of the longest she's ever composed" and "describes the start and end of a relationship".

15 June 2012
At Bonaroo 2012, Marling spoke to Kyle Meredith and the Weekly Feed. We learned that her next album will be in C minor, it is already written, and that she will take 6 months off after the album is finished before touring again. She also refused to give her opinion of Neil Young's latest album, AMERICANA, saying only that she 'liked it'.

11 June 2012
In an interview with Matt Pais of, Marling revealed that she is "obsessed with Will Ferrell", and that she actually can swim. When asked who she would like to play her in a film, she answered:

"I would probably really enjoy Scarlett Johansson playing me, but likely it would be Dakota Fanning. When I'm in America people stop me in the street and tell me I look like her."

30 May 2012
Alyssa Pereira Marling told Alyssa Pereira of that she will do her next album without a band to "keep it really simple". She also discussed her preoccupation with death, saying in part:

"The other day I was looking through some old sketchbooks of mine and I found something about the myth of Undine. She was a water goddess or water nymph and she was supposed to make people feel like there was no danger in the world and lull them into a sense of security. And she causes people to walk into the water. I've been thinking about that a lot over the last couple months. UNDINE will probably pop up somewhere [on the new album]. "

7 March 2012
Charlotte Krol and Becca Price reviewed the Newcastle Concert for The Courier. (Charlotte Krol has a live show Monday nights on Newcastle Student Radio.) Here's how they described opening act TIMBER TIMBRE: Charlotte Krol

"Timber Timbre are usually a band. They're not exactly perky, but they usually add some pleasant touches. But tonight they are instead represented by one guy with a Satanist's chin beard, who brings out their dark, dark heart. He sits and slowly strums a blues guitar that drips menacingly with reverb. His voice chills whilst his music is echoing, deep, and terrifying; imagine the mood on a submarine where the power has gone and the only other person on board is singing murder ballads about you."

24 February 2012
Sarah Mudgway The Australian magazine COUP DE MAIN ran a short interview with Marling by Sarah Mudgway. Mudgway asked what was her favourite lyric from ACIDK. Marling's response? "My favourite from my own lyrics? I couldn't possibly say, I'd feel too exposed." Marling also revealed that the song I Was Just A Card was written while she was in Texas.

7 February 2012
Christine Lan interviewed Marling for THE BRAG MAGAZINE. Here's a Marling quote from that interview:

"When I was at school, I always thought that when we were doing English and learning poetry or dissecting a novel, it was terribly unfair that there was one way of taking it in and one way of understanding it, and there was a set curriculum of how you would take on this poem or how you would take on this novel. I just don't think any writer has that much control over how words affect people. Words will affect people differently, and I like that people would have their own ideas about things like that."


10 December 2011
Elliot Sharp reviewed the concert at GRINDHOUSE, a vegan coffee house in Philadelphia, for A.V. CLUB. He said in part:

"Marling has a deep fascination with objects. Opening with 'Goodbye England (Covered In Snow)' from I Speak Because I Can, the song was as much an ode to everyday objects as it was to the city and the lover who have vanished. Jackets, coats, scarves, and books are all equally important characters, inseparable from the wounded humans who walk the snow-covered streets of London alone."

4 December 2011
THE OBSERVER included a special CD containing 10 Laura Marling songs (studio recordings and previously unreleased live versions). Included inside the paper was a track-by_track review.

17 October 2011
David Honnigan wrote for about the first night of Marling's When the Bell Tolls Tour in Exeter.

1 December 2011
In an interview with Killian Fox of THE GUARDIAN, Marling said that she might be entering her "electric phase" and that

"My first love was punk, and my current love is punk, so maybe there's a punk album coming, though I probably wouldn't do it under my name."

6 October 2011
Laura Marling's "Experiments in Awkwardness", which had been going on since Glastonbury 2011, and involve her playing briefly for an audience of two, are apparently over. They were described by one of the experimental subjects, Rachel Kowal, in her NPR blog

Marling perched on the small bench between us and, without a word, began to play a song so new, it wasn't on her latest album. As I sat, staring into Marling's eyes and watching her fingers glide across her guitar, the wild excitement I'd felt upon entering the room quickly morphed into a strange sense of calm. Marling's voice ricocheted off Rachel Kowal every surface of the small room and enveloped me like a thick security blanket. Though I can't speak for Marling - who never met my gaze - I realized that it wasn't awkwardness I felt in that strange white room. It was a level of intimacy rarely experienced, let alone with strangers. I was so close to Marling that at one point, I actually found myself counting the freckles on her face.

24 September 2011
Scott Tavener of published a short review of Marling's 23 September performance at the Great Hall in Toronto, Canada. Saying, in part:

"Alone on stage for a handful of songs, Marling dispensed charming banter, playfully cursing and false starting. Her voice, an amalgam of Ani DiFranco, Dolores O'Riordan and dustbowl America, benefited from the sparse setup. The Leonard Cohen-indebted 'Night After Night,' with its dry delivery and quiet plucking, was a particular highlight. Rejoined by her band, the gig kicked into high gear, soaring for a towering take on 'Sophia' -- the Robertson Davies shout-out didn't hurt -- and climaxing with stomp-along hoedown, 'All My Rage'."

23 September 2011
Ryan Adams told NME how he reacted to hearing Laura Marling's 2010 album I SPEAK BECAUSE I CAN: "I literally threw out 80 per cent of what I had (for the next album). And it felt good to ask: 'What am I really capable of? I felt competitive again to write great songs." His album, ASHES AND FIRE, the subject of all that revision, was released in 2011.

19 September 2011
Tony Hardy reviewed ACIDK for Consequence of Sound, giving the album four stars out of five (I am curious as to what album might get five stars from him). He says, in part:

"Marling's fascination with John Steinbeck's third wife, Elaine, gave rise to 'Salinas'. The refrain 'I am from Salinas, where the women go forever' echoes the stoicism of a heroic woman watching a great man die. The record's title comes from British Biographer Jehanne Wake's novel Sisters of Fortune and, supported by the almost brutal cover art, helps cement the idea of the beast as a metaphor for complex, unnatural or unspoken desire."

14 September 2011 Marling discusses the song Sophia in a short radio interview with Zane Lowe of BBC 1.

13 September 2011
Short Marling interview with John Wilson of FRONT ROW on BBC 4.

4 September 2011
The show 'Spinning On Air' (hosted by David Garland) on New York radio station WNYC posted the audio from an hour-long live session with Laura Marling along with videos from a live session with Laura Marling, recorded earlier this year. The videos are: 'Night After Night', 'Sophia', 'I Was Just A Card' and 'Pray for Me'.

2 September 2011
To the right is part 2 of an interview Marling did with FaceCulture
in which she discusses what she believes to be the most beautiful place in the world:

2 September 2011
In an interview with Mark Butler of FMV Magazine, Marling described her inspiration for the new album and its individual somgs in some detail. About the song THE BEAST she had this to say:

"It's the one I still can't believe I wrote. It's quite unsettling; it was quite unsettling to record, and quite unsettling to play to people, and it's quite unsettling to listen to, I think. Sound-wise it's just a punch in the face, and the imagery is way darker than I intended it to be."

15 July 2011
Emily Mackay reviewed Marling's album A CREATURE I DON'T KNOWW for NME. Here's what she said about cut number 5 (THE BEAST): Emily Mackay

"...odd shifty-rhythmed strums build into something darker and darker, heavier and intenser until we could almost be in PJ Harvey's '4 Track Demos'. 'Calling Sophia goddess of power,' invokes Marling, 'Instead I got The Beast and tonight he lies with me'.

And about the final cut ALL MY RAGE:

"A bone-rattling strum with a death-shanty feel. 'I tip my cap to the raging sea / Cover me up I'm pale as night / With a mind so dark and skin so white / Is this the devil having fun / I tip my cap to the raging sun'. It seems to be a sort of nature sacrifice hymn concerning the loss of a child."

2 July 2011
Stephen Jones of Music Week wrote recently about the new Laura Marling album, A CREATURE I DON'T KNOW, and quotes Virgin Records President Miles Leonard:

"It's not been about awards but how Laura can come back and advance her talents as a songwriter. It's an important record which sets her apart from her peers; she is markedly different and sits in her own space. And it's not a significant shift between albums stylistically but there are seismic, chameleon shifts as an artist which show Laura is stepping up as a brilliant storyteller."

23 June 2011
Marling told William Goodman of this about ACIDK:

"This album was definitely written with the knowledge that it would be recorded with a band, the same band I've been playing with for the last year, In some ways the set-up of the band dictated the sound. I bought a POG Pedal and borrowed an electric guitar the week before we hit the studio. We very nearly put the whole album through the POG."

15 June 2011
Hannah Bahl of East Village Radio published a brief review of the performance at Housing Works in New York City. She said in part:

"After a couple songs she thanked everyone for their appearance; 'Glad you are here...appreciate that a lot', and with that sentence the ice was broken. After that, one could really feel how more comfortable she was with every new song she played. In the bookstore atmosphere, the songs seemed to be in an environment where they fit in naturally, as did the singer. In between songs she showed off her new guitar skills, playing the Love Theme from Cinema Paradiso."

11 June 2011
In a telephone interview with Darren Middleton of REVIEWED MUSIC, Marling said this about her next record:

"I've written this EP, this collection of quite simplistic songs and I'm about to decide whether I'm going to do them in a grungy style or, I'm particularly fond of funk at the moment, so there's a massive fork in the road and I don't know which one I'm more comfortable (with)."

26 March 2011
A Richard Metzger blog entry was titled: THE GODLIKE GENIUS OF LAURA MARLING. The title is sort of self-explanatory.

"Laura Marling is a fucking genius. Marling, born in 1990 and just 21 years old, is almost a child, but she doesn't sound like one. Where does her incredible depth come from? I don't know, but I don't care; sometimes it's better if rare and special talent like hers remains a mystery."

1 January 2011 When Times music critic Pete Paphides hosted a show on BBC6 on the resurgence of vinyl recordings early in 2012, Marling appeared on the show and provided him with this playlist of her recent vinyl acquisitions:

HELP ME - Joni Mitchell
SOME VELVET MORNING - Nancy Sinatra and Lee Hazelwood


10 December 2010
Jeff Hemmings said this about FOXTROT at Stammer House in Brighton:

"Set in and around the illuminated Stanmer House, Foxtrot brought together a superb collection of artists who operate in the folk world. But this was no gathering of the purists, but rather a disparate bunch of mainly local musicians who take traditional folk and storytelling as a basis for their art and expand on it in contemporary ways. This was none better exemplified than by the simply stunning Laura Marling, who graced the stark marquee with only a guitar for accompaniment, and proceeded to captivate the 400 or so punters with her mature, highly fluid songwriting and pure, controlled voice. A classy finale to a classy event."

25 October 2010
Perez Hilton featured the video of Rambling Man by Laura Marling. He calls her a female Damien Rice.

3 September 2010
Colin Irwin reviewed the Dharohar Project EP for BBC Music.

In December 2009, Mumford & Sons and Laura Marling embarked on a cultural exchange with traditional Rajasthani musicians Dharohar Project, involving some unlikely collaborations and gigs together in Delhi. The return leg of this intriguing exchange is the subject of this eight-track live EP, recorded at a gig at Camden's Roundhouse as part of the iTunes Festival in July, 2010. Given two solo songs each, the recordings colourfully culminate in a mass jam session of colliding cultures, rhythms and harmonies.

6 August 2010
Michaela Kalowsi did a in three part interview with Marling on ABC Radio National's YouTube Channel.

6 August 2010
A chat with NPR World Cafe host David Dye, in which she discusses her love of Jane Austen, feminism, folk singer Jackson C. Frank, and the story which inspired the song Made By Maid.

29 July 2010
Marling was interviewed by KCRW's MORNING BECOMES ECLECTIC. KCRW 89.9 FM is a free internet public radio station of Santa Monica College in Los Angeles, California.

29 July 2010
The performance at the El Rey Theater in Los Angeles was reviewed by Molly Bergen for LA Weekley.

26 July 2010
Marling's appearance at the Calgary Folk Festival was mentioned on Slowcoustic:

Laura Marling played only 2 songs. I am not sure how comfortable she was at the performance (it was all Canadians other than her, maybe??) She sounded great for those 2 songs, but there was 16 songs total from 4 artists and she only had her 2. She was cheered on to play more and it looked like she was going to and then Casey from Ohbijou had to finally let her off the hook and say that "she was taking a pass". I think there was some disappointed fans (myself included) as she basically didn’t say a word really or play music past 15 minutes in (due to the rotation she played the 1st and 5th song out of the 16).

Ann T Donahue - photo from her website HELLO GIGGLES

24 July 2010
Anne T. Donahue wrote about the Hillside Festival in Guelph, Ontario (and Marlling's performance there) for The Aux TV Guide to New Music.

Before we knew it, Beardyman's set came to a close, and between his end and Laura Marling's beginning, we had enough time to head to the Aboriginal Circle for the Sacred Fire Opening Ceremony. For those that may not know, if there's anything that sets Hillside apart from music festivals all over the world, it's its obvious Aboriginal influence and respect for its culture and its teachings. The Fire burns from Friday night until Sunday's closing ceremonies, and is watched on rotation by a number of people throughout the weekend. The best part is that anyone is free to enter the circle at any time, so if you want to take a moment to reflect or meditate by the fire, it's not only welcome, it's encouraged.

7 June 2010
Liz Pelly interviewed Marling for Paste Magazine

"At age 16, Laura Marling dropped out of school, moved from her family's home in the English countryside to the big city of London, and recorded Alas, I Cannot Swim, her stunning debut album. This spring, her second LP, I Speak Because I Can, was released by Astralwerks; though she's still only 20 years old, the new album features some of her most complex and deeply contemplative lyrical poetry to date, underpinned by shadowy folk instrumentation supplied by Mumford & Sons (her occasional backing band) and Marling's own richly finger-picked guitar. In May, before her show at First Church in Cambridge, Mass., Marling talked with Paste about touring, her first years in London and her recent drunken encounter with Neil Young."

1 June 2010
Erica Grossman blogged about the Denver show for

25 May 2010
THE RUCKUS, a Denver entertainment blog, published some great pictures of the performance at the Larimer Lounge by Tiffiny.

14 May 2010 reviewed the performance in Brooklyn on 13 May. Heres a quote:

"Midway through British songstress Laura Marling's headlining gig in Brooklyn, N.Y.'s Music Hall of Williamsburg, her backing band vacated the stage, leaving just her alone -- and free to tell stories. When introducing a new song -- she never gave the title, but often said the line "bed of my bones" -- she mentioned that she'd recently played it in Los Angeles. She asked the West Coast audience if it would be good for a film and relayed that 90 percent of the crowd agreed that it would be -- if used for Twilight."

6 May 2010
Aaron Jentzen of Pittsburgh City Paper wrote about Marling on 6 May, quoting Marling this way:

"I don't think [my youth] is a good thing to be known for -- it's not good to be known for anything other than being good at what you do, and I can feel a little bit patronized. But in England, I've been drinking since I was 16, and doing it responsibly. And then when I go to America, I feel incredibly patronized when someone says I can't drink."

28 April 2010
Her show at the Palladium was reviewed by clashmusic.

"Standing nymph-like and precious in front of bland and slightly kitsch (and not in a good way) stage decorations, she was still that unassuming, modest Marling we all love but evidently more confident and comfortable in her own skin."

25 April 2010
Angus MacDonald of the Cambridge Tab reviewed the performance at the Corn Exchange, saying in part:

"Ms. Marling's gentle blushing nervousness was matched by a genuinely humbled audience. It was a brilliantly balanced act. She played the beginning and end of the gig with the support of a band, but the core of it by herself, with only a spotlight to accompany her (Angelic connotations did not go unnoticed). This allowed her to really fill the space with her sound and include instruments like cello and jazz organ, but at the same time create an intimate atmosphere."

8 April 2010
Laura Marling came out against the criminalisation of illegal music downloaders in an interview with the NME, saying:   "I don't think people should be criminalised for getting music for free because it's there, it's offered to them," she said. "It's promised to them by the internet server people, it's promised to them by the phone companies. I think it's their responsibility."

30 March 2010
ISBIC has also been reviewed by Alan McGee in the Guardian, and by Sam Richards of NME.

25 March 2010
Ludovic Hunter-Tilney of the FINANCIAL TIMES reviewed the performance at Camden Barfly.

She is, you suspect, far too decorous to respond with a "Positively 4th Street" - style kiss-off. But her new album I Speak Because I Can puts clear water between her and her contemporaries. Launched at the Barfly, a hot, dark cage of a room symbolic of the fetid indie dives she'll soon be exiting for good, it showed itself to be an impressively ambitious, intelligent work.

21 March 2010
Aidan Smith interviewed Marling for Paddy Hanton reviewed her 10 April performance at The Academy in Dublin for

20 March 2010
The Observer published a review of I SPEAK BECAUSE I CAN by Kitty Empire (the music critic, not the German band or the kittycam site). She seems to have liked it.

6 March 2010
Fly Magazine Cover The Guardian's Sarah Boden interviewed Marling for the Culture section.

""I'm almost an entirely different person to the one I was when I wrote the first album," says Laura Marling, smoking prodigiously on the patio of a King's Cross pub. Then, the singer-songwriter was a pale-faced, chronically shy 17-year-old keen on grungy T-shirts, mulishly determined not to be gussied up for popular consumption. Her 2008 Mercury-nominated debut, Alas, I Cannot Swim, saw her pushed, blinking, into the full-beam of acclaim. Marling was heralded as a precocious young talent, and her striking lyricism and graceful delivery gave rise to flattering Joni Mitchell comparisons.

2 March 2010
Marling made the cover of FLY MAGAZINE. Below is a quote from the FLY article.

"Hello my name's Laura... and I'm here to entertain you." Having just finished an exhilaratingly intense rendition of new single "Devil's Spoke", Laura Marling stands unassumingly in the middle of the stage at New York's Poisson Rouge, introducing herself like the reluctant ringleader, sending a sold-out crowd into hysterics with her politely-deadpan delivery. Her dry humour, discomfited banter and quintessentially English awkwardness might be in contrast with the self-assured inhabitants of the Big Apple, but there's an incandescent charm and understated star quality to the 20-year-old that makes her utterly engaging wherever she is...

Melody Lau

10 February 2010
Melody Lau reviewed a Toronto concert, saying in part:
"Just past 10PM (yes, this was quite the early show; it is a school night after all), British folk princess Laura Marling took the stage. Playing mostly off her new album I Speak Because I Can, Marling played a set split between performing with a full band, again with double bass in tow and Roe back on stage again on keys, and performing solo."

2 February 2010 reviewed the Speigeltent performance in more detail.

"I bloody love Australia," Laura Marling told the sold-out crowd at the start of her three nights in Hyde Park, before going on to say what a pleasure it also was to play in such a lovely venue. Indeed, The Spiegeltent was the perfect setting for such a performer, and the English songwriter created a suitably intimate ambiance with her intelligent folk and charming stage presence.

31 January 2010
The Sydney Morning Herald ran a review of the performance at the Speigeltent.

On a not-as-hot-as-it-has-been January night this week, the Laura Marling we saw with a band adding keyboards, cello, bass and electric guitar was all that and more. Now she spins stories between songs and jokes about spiders and hunky friends, invites audience banter and plays a long solo bracket.


3 November 2009
In a review of the London show 2 November at Union Chapel, Greg Rose said:

Despite being able to sell out the Bloomsbury Ballroom, and most other venues, herself, Marling is testing new material on this tour. After satisfying those familiar with her tunes, she plays solo versions of 'Ghosts' and 'My Manic and I', which are politely received.It is the new tracks that soar though, country-tinged 'Mama How Far I've Come' and the cutting 'No Hope In The Air' performed with freshness and vigour. Dressed in 50s fare in preparation for a hen party later, her five-song cameo is filled with vigour and new-found finesse.

26 October 2009
Marling's performance at Club Passim in Cambridge, MA, was described by The Stu Reid Experience, saying in part:

"Weakness, thy name is man. I was wooed on Thursday night by a songstress named Laura Marling. You may know her as a former member of the illustrious Noah and the Whale, or as the charming woman who recorded a folk duet cover of Eminem's BRAIN DAMAGE. I now know her as my ultimate indie crush, a tiny English woman with the voice of a siren."


4 July 2008
Interview with Ari Shjapiro of NPR

3 February 2008
Jude Rogers In an interview with Jude Rogers of The Guardian, described her songs as "optimistic realism" and says she was inspired by American musicians Nina Nastasia and Diane Cluck. She also says that the song 'Tap at my Window' was inspired by a poem by Phillip Larkin, and that the 'turning point' for her songwriting came in her early teens when she heard the album 'I See a Darkness' by Bonnie Prince Billy.

31 Jaunary 2008
Gareth May reviewed the MY MANIC AND I EP for The Independent. Here's a quote from the review:

Perhaps the best achievement on this EP, the prelude to an album released on 11 February, is the third track, 'My Manic and I'. Given its evocative lyrics of the gods, lovesickness and beautiful death, you'd be forgiven for thinking you'd stumbled across a translation of Puccini. This, married to the metronomic piano, the haunting backing vocals and, of course, Marling's ever-present internal rhymes, softly sung yet undercut with harsh tragedy, tell the listener they're in a theatrical dreamland that they can only leave when the song ends.


2 October 2007
NME reported that Laura Marling was barred from her own gig at the Soho Revenue Bar in London on 1 October for being too young. Instead, Marling busked outside the venue before finding another place to play - The Exchange in Gerrard Street - later on in the night.

24 June 2007
NME described Marling's performance at Glastonbury briefly, saying this in part:

During the singer songwriter's performance on the Park Stage, a man got up on stage and started dancing along to the music before being bundled off by security. Otherwise, Marling thrilled the early fans, playing a solo acoustic set for the first three songs, which included 'Failure' and the Ryan Adams-referencing 'New Romantic'. She was then joined onstage by her-four piece band which included a fiddle, banjo and accordion player.